Music Monday (9/15): This Week’s New Albums + Videos

Music Monday (9/15): This Week's New Albums + VideosOur guide to this week's album releases also features streams of upcoming tracks and albums from Tweedy, Leonard Cohen, Perfume Genius, and more. Plus, catch up on the week's music news, and watch new music videos from artists like Jack White, Jessie Ware, and Death From Above 1979. Read and Post Comments | Get the full article at Metacritic



Music News Headlines – Yahoo News

Peter Fonda’s Iconic ‘Easy Rider’ Chopper Headed to Auction Block

Easy Rider, meet Big Spender: The tricked-out, Captain America Harley-Davidson driven by Peter Honda in that 1969 film is headed to the auction block on October 18th, and it’s expected to secure a hefty price tag. According to The Associated Press, auction house Profiles in History estimates that the iconic American flag chopper……
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Under Pressure: Is ‘Virgin Territory”s Alec Stressing Too Much About His Love Life?

Share your thoughts on Alec, a recent “Virgin Territory” feature.
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George Hamilton IV, Grand Ole Opry Star, Dies at 77

If you look at the career of George Hamilton IV, one might be prone to label him as simply a stalwart of the Grand Ole Opry and one of traditional…
Billboard.com Music News
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Lauren Conrad’s Second Wedding Dress Was Made for the Dance Floor

Lauren Conrad walked down the aisle in a couture Badgley Mischka wedding dress—but with a 10-foot train it wasn’t exactly ready for the dancing the night away. Thankfully she had a move-and-groove-friendly option on hand…







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London Calling: The Royals and Scotland

Photographed by Ben Toms, Vogue, September 2011

Today, Scots are heading to the polls to vote on a referendum that would give Scotland independence from Britain. In anticipation of the historic vote, last summer Sarah Mower traced the long-held connection between the Royal Highnesses and the Highlands for Vogue.com. Here is Mower’s fashion meditation on a country on the rise.

Scotland! The Queen is already there on her annual six-week holiday at Balmoral. In a couple of weeks, she’s expected to be joined by the Earl and Countess of Strathearn. Who? Oh, you know—the ones who’ve just had a baby. The Strathearn option is the Scottish form of address Catherine and William can count amongst their many titles. It has to be a favorite, too: The pair of them met and spent their virtually publicity-free student years at the University of St. Andrews, after all. Now they’re taking the future king there, for his first taste of all the outdoor pursuits the British royal family have enjoyed at Balmoral since Queen Victoria purchased the castle and called it her “Highland paradise.”

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Photo: Chris Jackson/Getty Images

Photo: Chris Jackson/Getty Images

Moloh Workers coat, $ 651; moloh.com

I thought, then, that we’d get in early and explore a few thoughts on Scotland and all things Scottish ahead of the inevitable August rush. It is a country on the rise—so much so, in fact, that it wants to declare independence, separate itself from England, Wales, and Northern Ireland, no longer be part of the United Kingdom, and deal with all its affairs alone. Well, that’s a slight exaggeration: There is a referendum set for September of next year in which the Scottish people will vote to stay in or not. It won’t be decided till then, but it would be a serious schism if it happens, undoing the amalgamation which came about when the Scottish King James I succeeded to the English throne in 1603. Some people think that’s why Prince George has the middle name Alexander. There was a string of Scottish kings of that name. A little diplomatic hint that there’s a wee drop of Scottish in the blue blood?

Anyhow, Scotland is of course a constant source of fashion inspiration, glorious tartans, tweeds, and cashmeres. Stella Tennant comes from that part of the country—the Borders, home of Barrie knitwear, which was bought by Chanel, the Lovat tweed mill, the amazing producers of tartan, Lochcarron, and many others.

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Photographed by Ben Toms, Vogue, September 2011

Photographed by Ben Toms, Vogue, September 2011

Here she is, on her parents’ sheep farm with another fashion product that is sending Scotland’s pride stratospheric: Christopher Kane. He’s always got a kilt—or some Scottish clue or other—hidden somewhere in his collection.

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(from left) Photographed by Arthur Elgort, Vogue, September 2006; Photographed by Mario Testino, Vogue, November 2009

(from left) Photographed by Arthur Elgort, Vogue, September 2006; Photographed by Mario Testino, Vogue, November 2009

The romance of Scotland has a long history in Vogue, of course. It has several facets, which revolve to face different ways according to the times. I love the wild ruggedness of these two.

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Photo: Courtesy of Chanel

Photo: Courtesy of Chanel

Scotland—and royalty—has been on Karl Lagerfelds mind this year. The Chanel Metiers D’Art collection, which was shown in Linlithgow Castle is now in the stores. It had a royal angle, too. Linlithgow Palace was home to Mary, Queen of Scots. Perhaps she’s not a name to bring up in British royal circles just now, what with the current sensitivities. She was executed by her English cousin, Queen Elizabeth I. Moving swiftly on . . .

The aspect of Balmoral tradition that has always captivated me most is the Queen’s annual Gillies Ball. Her estate workers, local aristocracy, and family—and the Queen herself—dance reels, a traditional folk dance. It’s the occasion for proper kilts, white ball gowns, tartan scarves, and tiaras. Wonderful. It’s a very private affair (although some fascinating footage exists on YouTube). I can’t help but wonder what Kate might wear this year. Not that we’ll ever find out . . . .

Read last week’s London Calling.

The post London Calling: The Royals and Scotland appeared first on Vogue.

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Marcus Has Been Taking Fifi’s Pills – Tyler Perry’s For Better or Worse – OWN

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The guys discover that Marcus has accidentally been taking canine virility pills that Joseph left in the office fridge. When Marcus arrives at work, they notice he’s experiencing a few unusual side effects.

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How To Make Him Love You Without Being Stopped By Other Jealous Women

Do you want to attract men? But are other jealous women trying to get what you have? I can show you how to stop them dead in their tracks! Attract a man emotionally the easy way with this simple trick.
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3 Pieces Of Marriage Advice From ‘Marry Me’s’ Casey Wilson And David Caspe

Actress Casey Wilson and her writer-producer husband David Caspe don’t adhere to any kind of “no romance in the workplace” policy. The pair first met in 2010 when Wilson auditioned for (and landed) a role on Caspe’s sitcom “Happy Endings.”

The lovebirds tied the knot in Ojai, California in May 2014. Now they’re working together once again on the new comedy “Marry Me” — created and produced by Caspe and starring Wilson — which is loosely based on their relationship.

In an interview with Glamour, the couple shared some of their best marriage advice so far (like avoid hanger at all costs).

“My dad always said that 90 percent of marital problems could be solved by getting your blood sugar up, and he’s right!” Wilson told Glamour. “So I would say pick a partner who’s forgiving when you have low blood sugar and threaten to drive your car through your shared home.”

Even though they’ve been together for years, it’s clear that Wilson and Caspe are still figuring each other out.

“David’s a doer—he wants to give advice or fix things,” she said. “My girlfriends [let me] turn over every emotional detail for hours. I see them at least twice a week.”

“I’ve had to realize that if she shares a problem, I’m not supposed to fix it,” Caspe added.

And the cutest takeaway from Caspe? If you pick the right person, you can have a BFF and a romantic partner in one super awesome package.

“As a kid, you weirdly picture a girlfriend as separate than a friend,” he said. “But being with Casey, I realized a wife is the ultimate friend, and you also get to make sweet, sweet love together.”

Head over to Glamour to read the rest of the adorable interview.

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Comedy – The Huffington Post
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Wedding Brawl Involving More Than 100 Guests In Orchard Park, N.Y.

Forget the vows and the traditional “I do.” A wedding near Buffalo, New York, could have used Michael Buffer and his “let’s get ready to rumble” instead.

Police say more than 100 people at the wedding in Orchard Park, New York brawled after the reception. The fight was so bad that cops from seven departments were needed to break it up.

“I’m telling you, there was blood everywhere,” a unidentified witness told the Buffalo News. “There was holes punched in the walls. Words couldn’t describe it. Just when you thought it was over, another fight started.”

“I think the alcohol was a big cause of what went on here,” a relative of the groom told WKBW. “People were blasted.”

The station said the fight appeared to start when a guest at the party accused someone of touching his girlfriend, then tried to choke the uncle of the groom.

There were young and old people, men and women, involved,” another witness told the News. “The groom was trying to get people to go home. The parents of the bride were trying to get people to go home. The police were trying to get people to go home. But people just wouldn’t leave, and when you finally thought it was over, another argument, shouting match, would start up.”

No one was arrested, but several people were injured and one was taken to a hospital for a head injury that needed stitches.

It was hard to sort it out who the instigators were. There was a lot of yelling and pushing and shoving going on. There was over 100 people there from what my officer described,” Mark Pacholec, Chief of the Orchard Park Police Department, told WIVB.

He said police were still investigating, but no charges had been filed so far.

(h/t RawStory)
Weddings – The Huffington Post
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NoPlace, Tidens Krav, and UKS in Oslo, Norway

2014-09-18-perkristiannygardnotredbutgreennoplace1.jpg
Per Kristian Nygård, installation view. Courtesy of No Place Gallery. Photo by Jason Havneraas.

Per Kristian Nygård, Not Red But Green, at No Place Gallery

NoPlace is an artist run space organized by Jason Havneraas, Kristian Skylstad, Karen Nikgol, Hans Christian Skovholt, and Petter Buhagen. During Not Red But Green, Per Kristian Nygård constructed and grew an impressive, hilly landscape of grassy mounds, receding mysteriously into an interior room. By estimation, the lawn may have receded thirty feet or so, but illusion stretched this to visually harbor the scale of true hillsides, presenting the viewer with elvish wonderment about process as well as intention. Several small children in attendance had to be warded off from climbing onto the greenway, and this was no wonder, for there was an instinctual and inviting pull from the grass, making one want to depart from the conventions of art viewership. The grass sculpture was grown in entirety from seeds that had been planted two or two-and-a-half weeks earlier, and the mound formations brought to mind Icelandic lore of Huldufólk, or Hidden People, the mythical inhabitants of stones and mounds. I asked Kristian Nygård if there was a connection to this Icelandic lore of the land, and he said not in particular, and rather he’s engaging with what he described as “basic sculpture” (seeds and soil) and “just works in space. ” Simply put, he said he was “trying to make something that doesn’t make sense.” Kristian Nygård also described how undertaking these interior sculptures involve finding out particularities and the labor of becoming “your own assistant and a gardener.” A visceral connection to craft and an open sense of process took hold, eclipsing the end result of production or concept of object.

2014-09-18-tidenskrav.jpg
Courtesy of Tidens Krav.

Collection as Allocated Objects, at Tidens Krav

Tidens Krav is an artist run enterprise, active since 2009, and at its helm are four artists: Mercedes Mühleisen, Anders Holen , Linda Lerseth, and Øyvind Aspen. The apartment space includes an often re-imagined exhibition gallery along with a salon-style bar set in a wood paneled room with a soft glow of vintage light fixtures. Its openings are known to be lively with no shortage of libations or bodies (in Lars Brekke’s press release, written by Stian Gabrielsen, there’s a vivid description of a Tidens Krav opening with a “pulsating mob” and “mass of people being pressed toward one another”). Marthe Ramm Fortun described Tidens Krav to me as “the heart of Oslo.” The residence was built around 1790, and its spectacular history fittingly includes a curious past existence of a fireworks factory in its backyard.

The collaborative programming at Tidens Krav is thoughtful, and the word “curated by” or “organized by” is purposefully omitted from the show’s descriptions. Rather, the shows unfold, occur, and happen organically and collectively, inspired by “time’s demand.” This is described on their website: “The name, Tidens Krav, is a language specific expression that translates into ‘Time’s Demand’, or more loosely into ‘Whatever required by the now’. Not limited to tendencies, fads, or flings, nor by faith or karma, the requirement of the now, could be you exhibiting yourself in your own gallery, your friends exhibiting themselves in their gallery, or us exhibiting each other in our galleries – the requirement of the now could be whatever…”

2014-09-18-tidenskrav2.jpg
Courtesy of Tidens Krav.

Most recently, this vision was applied in a performance, “Collection as Allocated Objects,” (Tidens Krav & Sverre Gullesen) a night of poker where participants staked their own works, or works in their possession, with the winner taking all. The eight hour poker match was exhibited by an online video feed using official poker broadcasting equipment. In addition to the roster of nine in-the-flesh artists and collectors, the National Museum participated as an entity, upping the ante considerably for all involved. Upon winning the match, the collector Nils Wogsted donated all of the works to the National Museum.

2014-09-18-tidenskrav3.jpg
Collection as Allocated Objects narrators Sverre Gullesen, Kåre Magnus Berg, and Anders Dahl Monsen. Courtesy of Tidens Krav.

Tidens Krav is no stranger to hosting experimental scenarios which edge on gift giving ceremonies as much as gallery shows, as displayed in their long running economic experiment “The Newest Standard.” Artists who buy a work of art from Tidens Krav are wrapped into a kind of trust, recouping profits of sales involving non-artists, after Tidens Krav’s rent is paid. It sounds confusing, but like much of the work making waves in Oslo, a utopian element is strongly present, and never tongue in cheek.

2014-09-18-LarsBrekkeUKS.jpg
Lars Brekke, installation view. Courtesy of UKS. Photo by Vegard Kleven.

Lars Brekke, REMORSEFUL TOILS, Problems and the Strives of Humanity, at Unge Kunstneres Samfund (UKS)

Lars Brekke presented an exhibition of videos installed sculpturally in UKS’ inaugural new location in downtown Oslo (curator and art critic Johanne Nordby Wernø is now entering her second year as Director of UKS, a gallery and nation-wide members’ union for artists). His works depicted a group of young men in domestic and mannered environments, giving the sense of one’s grandparents’ living rooms, discussing the intricacies of a post apocalyptic existence upon an empty earth. The scenes were intercut with images of this scenario, with survivalist moments of fishing or foraging in woodlands, lonely videographic vigils with cameras hoisted supernaturally in the limbs of trees, among other, more mysterious things. Brekke’s work was cinematic but evenly paced and quiet, and its actors were convincing in their assumption of a humorous yet forlorn sense of contemporary existentialism, giving honor to independent filmmakers such as Harmony Korine or Jim Jarmusch. Brekke’s videos were mostly installed within oddly shaped, white constructions in which a single viewer or couple could snugly fit. The interiors of these personal viewing rooms were laminated with domestic wall coverings, wall papers and wood clapboard reflecting the settings of the videos. The effect was strange in that the gallery itself seemed almost brilliantly white and starkly empty, as the sculptural viewing pods blended into its walls like futuristic kiosks, and yet when sitting inside these constructions, one was filled with a sense of warm, familial viewership, as if residing in a nostalgic basement den. A side gallery in UKS’ impressively multifaceted space contained a longer format piece by Brekke in a typical theater arrangement.

2014-09-18-LarsBrekke2UKS.jpg
Lars Brekke, installation view. Courtesy of UKS. Photo by Vegard Kleven.
Arts – The Huffington Post
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VMAs and Emmys: Hair Styles We Didn’t See

Sometimes, it’s what you don’t see on the red carpets that’s important.

Notably absent (or nearly absent) from both was the ombre. This dramatic, multi-tone style had a long, strong run and, of course, it will never disappear and it will eventually trend strong again. Virtually all hairstyles do.

Having said that, Fifth Harmony at the MTV Video Music Awards had some ombres in the group and that was about all we saw of this long-running favorite on the red carpets there. Even Beyonce’s beautiful wavy tresses were fairly uniform and natural in color, a rich light brown with creamy highlights. She became the highlight of the night when Jay-Z and daughter Blue Ivy Carter presented her with the Michael Jackson Video Vanguard Award. The hair was there, stunningly beautiful, but soft and subtle in the bigger picture.

Was that an ombre that Kerry Washington of “Scandal” wore at the Emmys? Those color transitions were so soft and subtle, which followed the overall trend toward less dramatic looks. Other majors were wearing timeless bobs and pixies, others took cues from vintage looks, the 60s and 70s, in particular.

We saw the same trend toward more soft, subtle and understated hair at the MTV Music Video Awards. The effect was that we saw their eyes and smiles. We saw the faces of the presenters and honorees, beautifully framed and accented but not overwhelmed.

Fifth Harmony took the Moonman for Artist to Watch at the VMAs, a tremendous honor with lots of exposure. Three members of the hit group wore ombres for the event, two of them following the trend toward much softer, less dramatic color transitions (barely an ombre). The third was high-contrast, nearly black on top, quickly transitioning to blonde on the ends.

Big at the VMAs, but not so much at the Emmys, was the ponytail. Ariana Grande had a beautiful, high ponytail in creamy mocha, reminiscent of the late 60s and 70s, for her appearance on the red carpet and performance at the VMAs. She stepped onto the red carpet in a black leather mini and matching thigh-high go-go style boots, also an echo from the 60s with all kinds of contemporary updates. Others doing the high ponytail (think “I Dream of Jeannie”), were actresses Arden Cho and Victoria Justice.

Making a strong appearance at the Emmys and less so at the MVAs were braids. Big at both were bobs and pixies, the latter clearly trending strong. Among those at the Emmys with soft pixies were Halle Berry, Lena Headey from “Game of Thrones” and Kaley Cuoco-Sweeting of “The Big Bang Theory.” Mega star wearing a pixie at the VMAs was Miley Cyrus. Meanwhile, Sarah Hyland of “Modern Family” had hers in an elegant bun with soft light brown tones and caramel highlights. Hayden Panettiere of “Nashville” gathered hers in a soft, romantic chignon.
Style – The Huffington Post
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Gwen Stefani & Blake Shelton’s Lip Sync Battle With Jimmy Fallon Deserves Our ‘Endless Love’

What? Friends lip sync to “Endless Love” in the dark …

“The Voice” kicks off Season 7 on Monday, so coaches Gwen Stefani and Blake Shelton stopped by “The Tonight Show” to celebrate with a good ol’ fashioned lip sync battle. Fallon has already had legendary battles with Emma Stone and Joseph Gordon-Levitt, but a mind-blowing lip sync duet makes this one especially epic.

And with songs like “Burn” by Ellie Goulding and “Call Me Maybe” by Carly Rae Jepsen, this is definitely crazy. So here’s the video. Watch it maybe.

“The Tonight Show Starring Jimmy Fallon” airs weeknights at 11:35 p.m. ET on NBC.

Season 7 of “The Voice” premieres Monday, September 22, at 8:00 p.m. ET on NBC.
Entertainment – The Huffington Post
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Wedding Themed Thank You Cards Greeting Card

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Secretum

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Romantic Music Box Features A Single 22 Note Stemmed Pink Rose Wood Inlay (Someone To Watch Over Me)

Romantic Music Box Features A Single 22 Note Stemmed Pink Rose Wood Inlay (Someone To Watch Over Me)

One of our more sophisticated and romantic musical jewelry boxes, this truly elegant music box is sure to convince anyone of the love that rests behind this gift. This romantic music box features a single stemmed pink rose wood inlay. The design illuminates against a dark wood tone backdrop and is perfectly centered inside a contrasting yet subtle boarder. It comes with a fully functional lock and key and is hand-made in Sorrento, Italy. It's constructed of only the finest quality wood (solid Bu

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Complete Collection Of Piano Solos For Weddings: 44 Solos for Ceremonies and Receptions, Early Advanced Piano

Complete Collection Of Piano Solos For Weddings: 44 Solos for Ceremonies and Receptions, Early Advanced Piano


For the wedding pianist, this comprehensive collection contains 44 piano solos of the most frequently requested wedding preludes, processionals, interludes, and recessionals; plus, other beautiful music to play at receptions. Lush arrangements of popular and standard romantic ballads complement a treasury of piano masterworks, and selected Christian wedding favorites. The wedding party and their guests will enjoy the beauty of these timeless favorites. Titles: Adagio Cantabile (2nd Movement from Beethoven’s “Grande Sonate Path?tique”) * Andante, from Elvira Madigan (Mozart) * Be Thou My Vision (Traditional) * Beauty and the Beast, from Walt Disney’s Beauty and the Beast * Bist Du Bei Mir (Be Thou With Me) (Bach) * Bridal Chorus, from Lohengrin (Wagner) * Canon in D (Pachelbel) * Clair De Lune, from Suite Bergamasque (Debussy) * Dream a Little Dream of Me (Standard) * Emily (Johnny Mandel) * First Gymnop?die (Satie) * The Flower Duet, from Lakm? (Delibes) * Household of Faith (Steve Green) * How Beautiful (Twila Paris) * I Will Be Here (Steven Curtis Chapman) * I’m in the Mood for Love (Standard) * Jesu, Joy of Man’s Desiring (Bach) * Laura (Standard) * La R?jouissance, from Music for the Royal Fireworks (Handel) * Love Theme from Romeo and Juliet (Tchaikovsky) * Love Theme from Scheherezade (Mendelssohn) * Love Will Be Our Home (Steven Curtis Chapman) * More Than You Know (Standard) * Nocturne in E-Flat Major (Chopin) * Notturno (Grieg) * O Mio Babbino Caro (Puccini) * O Perfect Love (Traditional) * Ode to Joy (Beethoven) * Panis Angelicus (Franck) * Plaisir D’Amour (Martini) * Polka Dots and Moonbeams (Standard) * The Prayer (Celine Dion and Andrea Bocelli) * Prelude in C Major, from The Well-Tempered Clavier, Book 1 (Bach) *Prelude in D-Flat Major (Chopin) * Prelude, from Te Deum (Charpentier) * The Prince of Denmark’s March (Trumpet Voluntary) (Clarke) * Rondeau (Mouret) * Take My Life (Holines

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The Bitch’s Guide To Becoming A Lady – Chick Lit How to Humor Guide

The Bitch's Guide To Becoming A Lady - Chick Lit How to Humor Guide

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Offering Herself to the Earl – A Sexy Victorian-Era BDSM Romantic Short Story from Steam Books

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Venetia

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Citrus Garden Bouquet

Citrus Garden Bouquet


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Womens Sexy Strapless Lace Bandage Bodycon Evening Dress Club Party Dress (XL)

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Attorney: Patti LaBelle had bodyguard beat cadet

Lawyer tells jurors singer LaBelle had bodyguard, others beat cadet outside Houston airport
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The top 10 songs and albums on the iTunes Store

iTunes’ Official Music Charts for the week ending September 15, 2014:
Music News Headlines – Yahoo News

Bruce Springsteen, Louis C.K. to Headline ‘Stand Up for Heroes’ Benefit

This year’s Stand Up For Heroes benefit, an evening of music and comedy that raises funds for injured servicemembers and their families, will feature appearances by Bruce Springsteen, Louis C.K., John Oliver, John Mulaney, Brian Williams and other surprise guests. The annual show will take place at New York’s Theater at……
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‘New Girl’: All The Reasons Coach Didn’t Call

All the reasons Coach of “New Girl” isn’t ready to settle down, from season four premiere “The Last Wedding.”
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Listen to Alex & Sierra’s New Song ‘Here We Go’

Just before the plug was pulled on Fox’s X Factor in February, boyfriend-girlfriend duo Alex & Sierra made history as the only group to win the U…
Billboard.com Music News
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(Spoiler!) Was Eliminated on Dancing With the Stars Tonight. Are You Surprised?

I can't say I'm shocked, but considering that America loves a good comeback story, I'm definitely surprised by the results at Dancing With the Stars tonight. Who won't be returning next week? Read on! The…







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6 Beauty Lessons We Learned at London Fashion Week

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The backstage beauty in London this week gave a nod to the city’s nonchalance, rock ’n’ roll history, and its affinity for a well-made hat. Lipstick was applied with haphazard charm, punk-inspired crops were matched with Siouxsie Sioux-worthy eyeliner, and the New York Fashion Week–favored slicked-back ponytail took root under a wide-brim cap. Here, the six new beauty ideas we’ll be wearing in Milan.

The post 6 Beauty Lessons We Learned at London Fashion Week appeared first on Vogue.

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What Do Men Think Creates “Magic” In A Relationship?

The majority of men who are dating or married are looking for some pretty significant things to happen in a relationship. Some you may know… others may surprise you.
Relationships:Dating Articles from EzineArticles.com

‘Dancing With The Stars’ Contestant Alfonso Ribeiro Proves Carlton Still Got It

Forget “Fresh Prince of Bel-Air.” Alfonso Ribeiro is “King of the Night.”

Ribeiro, known by ’90s kids everywhere as Carlton Banks, capped off the “Dancing with the Stars” premiere on Monday with a performance that did not disappoint. The actor danced jive to universal praise from the judges who called his performance the best dance of the night.

Though Ribeiro didn’t break out his famous dance move, “The Carlton,” on the show, the actor has reportedly not ruled it out. And with more performances like this, we may even end up seeing it in the finals.

The “Dancing with the Stars” results show airs Tuesday at 8:00 p.m. ET on ABC.

[h/t Uproxx]
Comedy – The Huffington Post
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How Not to Plan a Wedding in 7 Easy Steps

1. Before you do anything else, ask your friends and family how they think you should get married. Get as many opinions as possible — it’s always better to make highly personal decisions with the doubts of others swirling around inside your head.

2. Hire a travel agent and pay them hundreds of dollars to tell you that you’re only viable destination-wedding option is an all-inclusive resort in Mexico that he/she directly profits from. You won’t regret it!

3. Set a budget and then go back on it once you realize you’re heading down an aisle of all-inclusive disappointment (see number 2).

4. Add enough money (that you don’t have) to the budget to make you remember why you chose your original budget in the first place. Then rebel against your financial reality by saying unproductive things like, “**** it. Why don’t we just elope?”

5. Narrow it down to two to three locations, then listen to the second thoughts that are telling you to add two or three more just in case the first two or three aren’t really what you both might be wanting in the back of your minds.

6. Once you’re confident in your selected location, click over to TripAdvisor and scroll directly to the 1-star reviews. Read on until you’ve convinced yourself that you’re going to have the exact same negative experience as the reviewer, only much worse.

7. Create a comprehensive guest list that includes people you’re hoping won’t come but feel the need to invite due to pressure from your other guests.

8. Find someone who thinks of themselves as a wedding coordinator but isn’t, get their entirely one-sided feedback often, and whatever you do, don’t end any of your conversations until they’ve made you feel like you’re not doing anything right, let alone in the proper order.
Weddings – The Huffington Post
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Public Art: More Than a Background for Selfies

During the busy summer travel months, your Facebook feeds and shared slideshows are likely filled with photos of friends on vacation. Odds are those photos included public art: faces reflected in Chicago’s “Cloud Gate” (affectionately known as “The Bean”) by Anish Kapoor, beautiful nighttime shots of a Leo Villareal’s “Bay Lights” on the illuminated San Francisco Bay Bridge, or silly poses with Wall Street’s “Charging Bull” by Arturo Di Modica. We often photograph these pieces because they help us remember a space, because they make that trip unique and because we are moved, inspired or maybe even upset by their presence. Art plays an important part in our tourism experiences and public art especially helps us interact and converse with places throughout the world.

The term “public art” may conjure images of bronze statues of soldiers or busts of presidents. I still stop and learn from these works. But today, public art takes on a wide range of forms, sizes as well as scales and can be temporary or permanent. Public art includes murals, sculpture, memorials, integrated architectural or landscape architectural work, community art, digital new media and even performances as well as festivals. Nationally popular pieces include Christo and Jeanne-Claude’s “The Gates, Central Park, New York City, 1979-2005,” 7,503 panels of saffron-colored fabric that hung in New York’s Central Park in February 2005; the 2-acre swirling park “Connections” in Philadelphia; more than 150 painted murals showing the history and heritage of Joliet, Il. and pulsing LED portraits installed in Boston and its Harbor Islands.

Public art is more than just an attractive decoration — it is a conversation with the public, revealing a place’s or a people’s history, values and stories. The work serves as a way for communities to announce themselves as a unique place. Think of the Eiffel Tower or St. Louis Arch. Public art can serve as a tool for governments to dialogue and partner with citizens, showcasing creative uses of space and the spirit of communities. To preserve this conversation, 27 states and at least 300 municipalities annually allocate a percentage of all capital and building costs to acquire and maintain public art.

Additionally, public art is a substantial tourism boon. “The Gates” were estimated to have an economic benefit for New York City of $ 254 million, attracting over 4 million visitors to Central Park during what is usually its slowest tourism month. “The Bay Lights” installation is estimated to have a $ 97 million impact on the Oakland Bay area’s local economy through 2015. The dollars come in through tourism and job creation, as workers are hired for design, fabrication, engineering, lighting, insurance, security and installation.

As you plan future travel, you can select a destination specifically to see public art (such as Tampa, with its 560 public art installations), make it a point to find public art wherever you travel (like the exhibits of art + technology at San Jose Airport), or even find art in your own hometown. Several public art programs run smartphone apps or online digital maps and databases of their collections. Many collections can be searched by city and state on the websites Public Art Archive and CultureNow. Additionally, Public Art Network Year in Review annually recognizes the country’s most outstanding and compelling public art projects — you can search the database of recent honorees and see photographs of most of the artwork.

As the conversation about public art moves beyond classic statues to ever-changing digital creations, as murals morph from patriotic symbols to powerful found art, we have to ask ourselves: what is the public art of the future? What conversations do we want to have with our cities, our government, our tourists and one another in the next century? The pieces we leave behind will tell our stories of today. The pieces we fund, install and create will tell our stories in the future. That’s the power of public art.
Arts – The Huffington Post
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How Etsy Changed the Rules & What It Means for Indie Designers

2014-08-25-etsylogolgrgb.png

I’m a conscious consumer. I shop second-hand, I limit my consumption of “stuff,” and I try to keep my purchases local. I believe in voting with my dollars, and I’ve gone so far as to dedicate my career to figuring out what that means.

On occasion, though, when I’m hankering for a new piece of jewelry or a unique gift I can’t find in my local thrift shop, I’ll look to Etsy. If I’m going to dish out the cash on a new item, I know that my purchase has more impact if it goes to the local makers who are working on their craft.

As someone who is directly involved in the maker movement, I’m somewhat embarrassed to say I didn’t pay much attention when Etsy changed its policies last fall. For those of you who don’t know what I’m talking about, CEO Chad Dickerson announced that Etsy sellers could use outside manufacturers to produce their designs. In other words, items sold on Etsy no longer had to be handmade.

It wasn’t until a few months ago, when looking on Etsy for a new watch that I realized the implications of this change.

I had a specific brown, repurposed leather, wrap-watch in mind. I knew the one I wanted was handmade by a seller in Ohio, but I didn’t know his name. Typing in a simple search for “wrap watch” into Etsy, I proceeded to spend nearly an hour sifting through 50+ pages of three-dollar “wrap watches” from China.

2014-08-25-wrapwatch3copy.jpg

My eyes scanned over page after page of items I would have expected to find in the kiosks of Daytona Beach, not on a website for handmade goods. I sat at my computer with my jaw on the keyboard, wondering what had just happened. When I eventually found what I was looking for I purchased the handmade watch, for significantly more than three dollars, and moved on. I didn’t think much more about the experience after that.

A few months later, I met an Etsy seller through Factory45, the accelerator program I run for designers and makers. Among other reasons, she applied to my program looking for business guidance on restoring her Etsy shop sales.

She recently told me, “Last year my Etsy sales tripled in the spring and then again in the fall, so I figured things were still looking good. But in May, my views dropped off to about one-third of what they were in the previous months and as compared to last year. I thought they just dipped because of the holiday weekend and the nice weather, but in June they did not pick back up.”

She went on to explain that several message boards had popped up about similar drops in traffic for other Etsy sellers. When I went on the site to see for myself I found threads with titles like, “Are most of you feeling the low traffic, views and sales?” “Can Etsy stop letting Chinese factories sell here?” and “Your Stuff: Made in China?” with diplomatic responses from Etsy administrators encouraging the sellers “to take advantage of the downtime.” (Interesting advice when downtime could mean the difference between paying and not paying your rent.)

2014-08-25-etsywrapwatch.jpg

Aside from the issue that independent designers are now competing with full-scale production operations, there is the issue of sheer volume — Etsy now has over 1 million shops. When a seller is competing in a sea of 999,999 other shops, the odds aren’t good.

Now that Etsy shoppers have the option of buying from middlemen selling three dollar watches, finding that handmade wrap watch you’re looking for will undoubtedly be more difficult. From the seller’s perspective, no matter how many times they change their “tags,” SEO or refresh their storefront, the traffic just isn’t going to come like it used to.

So what actually happened?

In the fall of 2013, Etsy shifted their loyalty from the maker to the shareholder as it made plans to further scale its business model. How did this change things?

Because Etsy’s policy changes happened at the maker’s expense, many of the people who were once making a living off of their shops are now seeing a fraction of the sales. The difference between Etsy, and let’s say, Wal-Mart just got a whole lot smaller. At the core, Etsy changed its mission. No longer is it a website for makers of one-of-a-kind, original goods. Instead, it has become yet another website for the mass-produced and cheaply made goods that satisfy our insatiable culture of mindless consumption.

So what’s a seller to do?

If you’re an independent designer or maker with an Etsy shop, there are a few ways to try and get your traffic back up.

  • Create a small network of fellow sellers. Etsy offers the “team” feature but going beyond that, find five other sellers who have a similar target market and non-competing products. Work together to promote each other’s shops using your individual social media outlets and outside networks.
  • Narrow down your niche and create very specific tags. “Screen printed t-shirt” just isn’t going to cut it anymore. The competition is too high. Use tags and keywords you know would appeal to your target market and get specific.
  • Guest post on the Etsy blog. The blog run by Etsy is “consumer facing,” meaning the content is written for shoppers. It’s an entire platform where your potential customers could be hanging out. Come up with a few article ideas that would appeal to Etsy shoppers and pitch the editorial team.
  • Move marketing efforts away from Etsy to Pinterest, Instagram and a personal blog. Etsy ads are not going to be as effective as they used to be, so save your money. Focus your marketing efforts on creating compelling content through your social media outlets. Host contests on Pinterest, run giveaways on Instagram and write about the “behind-the-scenes” of your business on your blog.

As someone who supports the manufacturing movement in the USA, I believe that Etsy sellers should be able to scale production when their sales numbers get too high to manage on their own. My issue with Etsy lies in the lack of a discerning gatekeeper.

It comes down to this: the world doesn’t need another eBay. It needs the old Etsy.

Get more business strategy for your Etsy store or small business from Factory45 here.

Photo credit: Etsy
This post was originally published on the BF+DA blog.
Style – The Huffington Post
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Hippie Blues: 45 Years of Led Zeppelin

It used to be said that somewhere in the world, at any given moment, “Stairway to Heaven” is playing on the radio. This 1971 track from the fourth Led Zeppelin album, with its mellow guitar intro (perhaps borrowed from Spirit’s “Taurus”), became so ubiquitous in rock culture that it formed the basis for a well-known music-store gag in Wayne’s World (a sign in the store reading “No Stairway to Heaven”). Like “Bohemian Rhapsody” for Queen, “Money” for Pink Floyd or “Hotel California” for the Eagles, “Stairway” played an important role in making Led Zep one of the highest-profile bands of the 1970s. Some would even argue that Page, Plant and company are to the 70s what the Beatles are to the 1960s, Elvis to the 1950s or Michael Jackson to the 1980s.

Despite Led Zeppelin’s status as icons of 70s rock, the band’s music is steeped in the British electric blues and psychedelia of the 1960s. The first two albums, of course, were released in 1969; Led Zeppelin II competed in the album charts in the autumn of 1969 with the Beatles’ Abbey Road — placing the 1960s and the 70s in immediate musical juxtaposition. Is there any other way to hear the center section of “Whole Lotta Love” as something other than late-60s psychedelic head music (though more sexually driven than most hippie soundscapes to be sure) or the slow sections of “Dazed and Confused” as opiate-induced languor? It was trippy blues, or better yet, “hippie blues.”

The blues roots in Led Zeppelin’s music have been much discussed; the story is often told of how the band developed out of the ashes of the Yardbirds, a band that in many ways carried the torch for electric blues on the London scene in the mid 1960s after the Rolling Stones became an international sensation. The Yardbirds soon had hits of their own, though the recording of “For Your Love” became famous for Eric Clapton’s refusal to sell out to pop sensibilities, leaving the band to play a more authentic style of electric blues with John Mayall. The Stones, Clapton and even Mayall owed much of their blues scene in London during the 1962-64 period to Alexis Korner, Cyril Davies and the band that started it all: Blues Incorporated. Led Zep guitarist and mastermind Jimmy Page also moved in these circles, as did bassist/keyboardist John Paul Jones. In fact, the circle around Korner and his band touched many other important British musicians, including Jack Bruce, Ginger Baker and even jazz guitarist John McLaughlin. Page and Jones also spent most of the mid 1960s in the recording studio, playing sessions and developing the skills (as well as a certain pop sensibility) that would soon come in handy when Zeppelin began recording, especially into the 1970s as the band’s music became increasingly ambitious. This is the path to “Stairway to Heaven.”

In his article “Does The Song Remain the Same?” music theorist Dave Headlam identifies the sources that Page and the band used for a large number of tracks on the first four albums. Of course, covering the music of other musicians was very much a part of the London blues scene — indeed, it played a central role in British pop in general during the early 1960s, as American records were quickly copied in British versions before the originals could find distribution in the UK. But most often the sources of the music were acknowledged, and even trumpeted with a certain pride among the British bluesmen (Muddy Waters was a favorite among these groups). The Beatles (like other Liverpool bands) played dozens of covers, and several of the early Stones singles were cover versions (the early albums are packed with them). So it would seem that while Led Zep’s later adaptation of already-released music was in keeping with a well established and widespread practice, they were the exception in that they did not often acknowledge the original sources. But even that characterization is not quite right, since early Rolling Stones b-sides, for instance, were revamped versions of other records, credited to Nanker Phelge: “Stoned” was a reworking of “Green Onions” by Booker T and the MGs, and “Little By Little” recast Jimmy Reed’s “Shame, Shame, Shame.” Of course, this reworking of material without attribution was motivated by a desire to collect publishing royalties for the newly “created” song. Still, in this context it is clear that even the infamous Led Zeppelin song “thievery” (Robert Plant’s word for it) was rooted in 1960s practice and was nothing new in 1969.

We tend to remember Led Zeppelin in terms of the studio albums, produced with increasing skill by Page, who is certainly one of the masters of layering guitars and who captured the big sound of John Bonham’s drums to perfection. But Led Zep was first and foremost a live band; once that band took the stage, it might be three or more hours before they stepped down. Live Zeppelin was often drenched in improvisation: songs might go in any number of directions once they got going. And the live sound was much sparer than the studio sound, with no layers of guitars to thicken the texture. From a musical point of view, a live show was a very different undertaking from recording an album: in performance it was about owning the stage, creating dynamic contrasts and taking the music wherever it seemed to want to go that night. In London during the mid 1960s, fans would have called such interpretive freedom a rave up; in the late 1960s it was a jam, but by the 1970s it was hardly an innovation. Like San Francisco bands such as the Grateful Dead, or southern rock bands like the Allman Brothers, Led Zeppelin in concert were a jam band: how many more ways can you play “How Many More Times?”

The sixties roots of Led Zeppelin provide further evidence for an argument I have been making for many years now: there is a clear line of historical and music-stylistic development that can be followed from the early 1960s through the late 1970s. While some rock historians have seen a distinct break between the end of the 1960s and the beginning of the 1970s, perhaps marked symbolically by the tragic events at Altamont in late 1969, I have argued that the lines of continuity are far stronger than the moments of discontinuity. In the case of Led Zeppelin, we can locate their roots in the London pop and blues scene of the 1960s, and trace the band’s emergence out of the blues-inspired music of the Rolling Stones, the Yardbirds, and Cream into a style that continued to blend blues with folk (Joan Baez, Bert Jansch), pop and even prog-rock to create a distinctive style that seems to stand as the sound — or at least one very important sound — of the 70s.

The influence of Led Zep continued to be felt long after the band’s demise in the wake of drummer John Bonham’s death in 1980. Many would cite the band as an important source for the “heavy” rock of the 70s, 80s and 90s including heavy metal (though Page is quick to remind us that the group did plenty of lighter, acoustic-based music). When the first album was recorded during the fall of 1968 and released in early 1969, it was indeed fresh. But it was not a break with the past. Looking back after forty-five years, it seems clear that, in spite of all of the other styles figuring into the story, at its core the music of Led Zeppelin is hippie blues.

Further reading:

John Covach, “The Hippie Aesthetic: Cultural Positioning and Musical Ambition in Early Progressive Rock,” in Composition and Experimentation in British Rock 1966-1976, a special issue of Philomusica Online (2007); reprinted in The Ashgate Library of Essays on Popular Music: Rock, ed. Mark Spicer (Ashgate Publishing, 2012).

Dave Headlam, “Does the Song Remain the Same? Issues of Authorship and Identification in the Music of Led Zeppelin,” in E. Marvin and R. Hermann, eds., Concert Music, Rock and Jazz Since 1945: Essays and Analytical Studies (University of Rochester Press, 1995), 313-63.
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